Abstract
In many ways, Forster’s Howards End is the central text of the Edwardian years. I mean this not in the sense that it demonstrates values that are fundamental to the period — even though, as I shall later show, it addresses many of the age’s main concerns — but rather in the sense that it demonstrates that duality of assertion and retreat, continuation and refusal, that I have claimed as the basic mode of so much writing of the time.
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Notes
Williams, Ioan, ed. George Meredith: The Critical Heritage. London: Routledge, 1971, 9. The writer goes on to discuss the revival of Meredith’s work, and quotes in full (503–18) the influential review of the Collected Works by Percy Lubbock, which appeared in 1910 — the year Howards End was published.
Masterman is quoting from Samuel A. Barnett and Dame Henrietta Barnett, Towards Social Reform. London: T. Fisher Unwin, 1909, 7. Barnett was a leading reformer of his age, whose influence encompassed Toynbee Hall and St Jude’s Whitechapel. His interest in humanitarian and cultural work in the East End of London led to his making major contributions to the founding of Whitechapel Public Library and Whitechapel Art Gallery.
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© 1999 Stuart Sillars
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Sillars, S. (1999). Howards End and the Dislocation of Narrative. In: Structure and Dissolution in English Writing, 1910–1920. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-27664-6_2
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DOI: https://doi.org/10.1007/978-1-349-27664-6_2
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